Don’t peek at the setlist, just press play and enjoy.

A lot of the fun comes from blindly rolling through the combination of what would become long-term staples and the ultra-rare tunes which only got a small handful of plays in the mid-1960’s. I got to watch Kreutzmann dish up a couple of these songs just this past weekend, and yet for a couple of others, 12/1/66 has the only live versions you can hear. It’s certainly quite a spread. This is the longest show available on tape from 1966-1967, with more than twice as much music as you’ll find on most other recordings from that era.

Although appearing only in small doses, by 1966 they were already revealing their ability to stretch out tunes. The jamband had definitely been invented, as exhibited here in a few of the songs that would eventually make it onto their first album.

This dusty soundboard is an extra special treat. It’s like a foggy stained glass window. Aged and lacking a bit of clarity, but still bright and beautifully colorful. I almost wonder if it’s an audience tape. Either way, the instruments are balanced nicely, and you can easily pick each of them out in the mix.

We all wish more recordings were available from 1966, but we can’t forget how lucky we are to have the ones that are around. This one spans over two hours, and is sure to have you replaying your favorite moments for another bite at the apple!

Special, special stuff from San Francisco ‘66.

When a band is this good, they're not going to deviate in quality too much when keeping all of their songs under five minutes. They'll get to be able to stretch out more creatively later, but here its mostly just some hot 'n' heavy R&B with some kooky organ and then Viola Lee Blues which eventually starts having more to do with what the Velvet Underground were doing which is always a joy for me to hear the Dead kicking up some noise themselves because they were pretty good at it. Oh yeah, and Cream Puff War noodles on nicely for nine minutes.
I give it 4 because 11/29/66 deserves 5 for a better recording and again, these alternate performances don't deviate too much at this point quite yet in their history. So in essence, a very good first stop in the effort of being a completist, but not one to totally regret missing if you've heard 11/29 and are too horrified at the idea of listening to all of these frickin' gigs!

This collective of shows yields many rarities and 'only time played' from the old Dead Base days.
In regards to LINDY-overseas stomp.
I don't want to be overly dogmatic but based on the lyrics
I would place this political part of this tune at right about the U.S. entrance into World War One. (so sometime after April 1917)
American Troops went directly to the Western Front and were thrown into Trench warfare.
the LINDY was a dance craze with roots dating back into the 1920's came out of Harlem and went mainstream 1930's & 40's
Note; This might be the root of some of our Deadhead freestyle dancin'.
I do get there is something of a double entendre especially towards the end of the tune.
plus PIG could make even matters of war and peace and dancing ones butt off pretty sexy indeed.

Some Songs made it over the long haul
Some didn't.
That is the interesting part of these recordings.

This is a compilation of set fragments that, for reasons of provenance, has circulated under this date. Multiple pitch errors (one of them large) and lesser sound qual make this something you tackle. The Matrix was just a small club in Cow Hollow (owned by Marty Balin; now White Rabbit), and they immediately outgrew its confines. The poster for this run has a bizarre tree-monster-man flinging little creatures at a horse-man-giant who's shitting a pile of them. A flaccid-phallus-holding monkey-man is watching!? Maybe the strangest Dead gig flyer. It's not a clear recording, but regardless of pedigree there are interesting tidbits for the historically-inclined digging into the Dead's first year.

Several different dates have been suggested for these show frags, settling on a range from mid-November to early December, and maybe all at The Matrix. At this time Bear would sometimes recycle tapes, even beginning mid-reel. Confusing the issue, the first M&MU used to circulate as filler, a monkey wrench that suggested it was the lone representation of a single show (it has since stayed in its current position; possibly how it sits on the reel). But the material groups into thirds by pitch and sonic fingerprint. This indicates that the 1st third is not the same show as the final third (and on the third frag you don't hear the applause like on the first frag). The second version of M&MU is not arranged exactly like the first version, suggesting that these frags are more than days apart. Frags 2 & 3 would make no sense as 2 sets, at least in this order. Someone else can figure out the correct sequences, but either tracks 1-7 and 21-26 are one show, and 8 & 9 and 10-20 are one or two other shows; or more likely, 1-9 are a show, as are 10-20, and 21-26. My guess is that this is one Dec show and two from Nov. - i. e., the middle frag is 12/1 and the others late Nov. I say this based on tape analyzation alone and not knowing how things sit in the vault.

Anyway you slice you get frags of 3 shows (even if as little as one song). Curiously, the balance and lack of dynamics are consistent in all parts. Also, Dead. net lists a "Merry-Go-Round Broke Down tuning after Me & My Uncle", but doesn't say which M&MU - and it doesn't circulate. Either they are mistaken or they have a tape with more than the circ copy (and the 2nd show was taped over this tuning from the 1st show). They played The Matrix Nov 28>Dec 1 (and had probably played there in Dec '65, their first month, as well). Working on just venue logic, one of these is likely 11/30 and/or 11/28. Other possibilities are one week earlier in Nov, 12/2, or 12/9. This is probably the only Dec '66 stuff we have, except for parts of Vintage Dead and Historic Dead that have been matched to 12/66 (from Avalon Ballroom).

Minglewood Blues is a set opener, apropos the patter. Betty & Dupree is an early Jer warbler and this is the only extant version (barring the studio version on Rare Cuts). Next Time You See Me isn't yet to where Pig brought it. Rarity See That My Grave is Kept Clean is probably the best of the four we have. Alice D. Millionaire is another one for which this is the only circulating live version. A restarted Me & My Uncle finishes a 35min show frag or set.

You'll sometimes see this Cream Puff War on lists, though none of this frag can be accurately assessed or assimilated without taming the hyper-helium pitch. You can tell this is from a different show (the next 10 are a sonic match), but notice that Jer says it's the end of a set, so we are missing a bunch here. The song was entering its peak jam potential and this version is more eruptive than 7/16/66 (and a clue arguing for 12/66 for this section). You Don't Love Me is not as hot as the other one we have (attached to 2/25, but actually from this period). After a Beat it On Down the Line-7 [9 for Pig], Jer gets a big piece of the early arrangement for Hurts Me Too, soloing for over 1min. The arrangement for On the Road Again is different than the one we have from earlier in the year. Look on Yonder Wall is aka "Get Ready to Meet Your Man", written by James Clark. Elmore James retitled it and bands of this era discovered it as the B-side to Shake Your Moneymaker. It features an unknown guest. It's My Own Fault is the BB King song, written by John Lee Hooker (the influential Live at the Regal had come out the previous year). This is apparently the only version. The guest is still singing; Jer lays an explosive blues solo. Down So Long is an original that Jer played in the last few months of '66 (it seems to crib "I Will Turn Your Money Green" by Furry Lewis and musically follows "Stealin'"). Just two circ and though this is the more exciting version, 11/29 has better sound. The next few are solid enough, with Deep Elem tying up a 57min frag (Note Jer saying he is starting a new set, which is then missing but for one). This is the oldest one we have and it's not a very fleshed arrangement, especially the verses.

There is Something On Your Mind is another rarity. Not sure if Pig knew the Big Jay McNeely version or the Bobby Marchan, but it's not as good as 11/29. The opposite is true for rarity Big Boy Pete, and Death Don't Have No Mercy is great. Overseas Stomp is one of 5 versions (plus the studio version bonus track on the 1st album). The song is sexual innuendo, so what does "when that Washington lands in France" mean? (I used to think it meant the SS Washington but the song is much older). In Dancin' Bobby sings "it's autumn of the year", as on 11/19, so this may not be from Dec. There is no indication that Me & My Uncle, the end of this 35min frag, is the end of a set/show.

1st Frag:  C
2nd Frag: C+
3rd Frag:  C+
Overall = 2¾ stars

Highlights:
Betty & Dupree - historical interest
See That My Grave's Kept Clean - historical/best version
Alice D. Millionaire - historical
Cream Puff War - wailing version, among the best
Down So Long - well-played extreme rarity
Big Boy Pete - great version
Death Don't Have No Mercy - prime dueling Pigpen/Jer

SOURCES: The sirmick_26968 gathers everything associated with this date, cleans some issues and filters the hiss. There are three sets of pitch errors, needing -1% pitch correction for Betty & Dupree and -1.5% for Next Time You See Me through Me & My Uncle. The second fragment needs -4.75% (Cream Puff War through Deep Elem). The final section (from There's Something) needs -2.25%.

Billy's on his fourth arm half way into the song. Hear, hear, what a blistering effort from young man.

This stuff is magic. I started listening to the Dead when I was a freshman in high school in '91, when I got a ride from a neighborhood stoner junior. He would play some pretty rough recordings of live shows, but it made an immediate impact that so I went out and bought a bunch of studio tapes (Workingman's Dead, American Beauty, Touch of Grey). I really got into them throughout college and saw The Other Ones at Great Woods in Mass. Well over the last 20 or so years I went here, there and everything in my music interest. Until recently I hadn't really listened to much Dead until I watched Long Strange Trip on Amazon. That's been a total wake up call for me to rediscover the Dead, and discover anew this early Dead, which is absolutely amazing. I'm so thankful for you and others for sharing these priceless recordings. Cheers

65-66-67 my faves too. you can almost feel the acid just from the racing, barreling, toppling rhythms go damn

5

i've been listening to the GD since 1966 (though I stopped going to see them live around 1978 as they just didn't have that "same old thing" for me anymore). Nothing, BUT NOTHING, beats the Grateful Dead from 1966-1971. They did it all..pop, blues, psychedelia/space/acid rock, rock 'n roll, country, bluegrass..and they did it exceptionally well. They were at their best and most innovative during this period and because of this really established themselves as an iconic rock group. I especially love their 1966-67 period. The sheer exhilaration and ecstasy of their work so clearly reflects what we felt then..We really were going to change the world for the better. Unfortunately, reality struck home or maybe it was the acid just being metabolized out of everyone's system. Nevertheless, I don't think the Dead ever again reached the artistic or creative heights they achieved during this time period (i.e. '66-'71). They may have made more money, been more professional, honed their recording and instrumental skills to a finer edge, achieved greater fame, attracted more fans in later years, but they were at their best earlier on. I know a lot of the younger fans will rave on about albums like Blues for Allah, or Mars Hotel, or Terrapin Station, or recall "remarkable" concerts in the late '80s or '90s but as far as I'm concerned the GD were never they same after Pig died and went downhill creatively and artistically after that sad event. They were never the same. Their music (live and recorded) didn't have the same edge. Those of you out there who were also privileged to have seen them back in the day know what I'm talking about. Their concerts/shows also just weren't the same. When my wife was hit by a flying chair in 1978 I finally realized that the party (and the '60s) were truly over and confined my fix of Grateful Dead music to albums and tapes (released and boots). Then the internet and sites like this (among others, like Wolfgang's Vault--and don't bitch about paying, sadly the '60s are over, DEAL WITH IT) came about allowing us to once again enjoy the Dead's and other great band's fabulous musical archives

Best Dead show I have ever heard period!

Who is singing on Yonder

This is a great recording, but the album field is mistagged as "1969-12-31 - The Matrix". It should be "1966-12-01 - The Matrix"

Just wanted to let you know. Thanks!

WOW..

God I love the good old grateful dead


anyone reading this is as big of fan as I am.

SUPER PERFORMANCE_ SUPER COPY!

I'm not an expert, but to me this seems to be a pretty damn good recording of a '66 Dead concert.

Welcome to another evening of confusion and high frequency stimulation. Again, not a great recording, and again, I still appreciate the person's time and effort in putting finding this and putting it on Archive.

There's some rare stuff in this one... More treats. I could hear Big Boss Man every day for the rest of my life. Alice D. Millionaire... First time I've seen this show up. Cool song... Not one of my favorites, but not bad. Me And My Uncle false start... I recall an '80's (don't remember exact date) Brokedown Palace false start much like this.

...with special guest - Somebody! Somehow I don't think Yonder's Wall is the only song he's in. The riff at the end of Down So Long (apx. 3:15) sounds just like Uncle John's Band. Viola Lee was insane... Would've loved to see that version live. It's like they just snap out of it after it hits the highest possible point of chaos. It almost sounded like Jerry said Stella Blue. Great stuff though.

This is a great '68 show. One of the best in my opinion. I really LOVE the bluesy GD sound and this just encompasses that 100%. If you are a fan of early dead this is a must have showw!

The audio on this record is bad. You can find this same show under the mislabeled 1966-12-05 show! Compared to this show the quality is 5 stars!

Great Great show, gotta love the Pigpen songs.

<>~@~~~@~~~@~~~@~<>

You are going to need to use your EQ on this show and maybe slow it down a tiny, tiny bit.

Too bad the sound of this recording is not as good as some of the other 1966 shows on the Internet Archive. Despite the poor quality recording the musical genius contained in this show makes it a worthwhile download.

5 stars for the mix
3 stars for the recording
5 stars for the performance

Exciting, energetic show with some real 'RARE' treats performed by Pigpen.

For fans of Pigpen this show is a "MUST HAVE".

Lot's of great Rhythm & Blues songs performed by the GRATEFUL DEAD. I loved the DEAD when they were a Rythm & Blues Band. Pigpen's Blues influence was a driving force of the GRATEFUL DEAD.

A great addition to your 1966 collection.

It would be great to have a real clean soundboard of this show...

Here's a wild version of Deep Elem Blues from 1966, check it out you guys...

What time does Hullabaloo come on?

Eat, Drink, Be Merry and Listen to the GRATEFUL DEAD.

Thanks for the LOVE from 1966.

After Minglewood, Jerry notes that the Matrix has "Beer on tap" and "More beatniks than you can count on two hands."

Listening to these shows, one gets the idea that the tiny Matrix was a place were the Dead tried out new material. (They play Me and My Uncle 3 times! The very first Uncle was 11/29, also at the Matrix.) This show is almost all blues. Old blues, 50's style blues, psychedelic blues, and go-go blues, like Big Boy Pete (do the twist!). Jerry sounds great singing and playing Death Don't Have No Mercy--the highlight of the show for me. I agree with Ox Fall Down, the Cream Puff War jam is good. The Dancing in the Streets Jam alone is worth the price of admission.

That said, the set list is a bit repetitive on the blues end, and many of the songs just aren't that good. I've now listened to all but two of the 1966 shows here at Archive.org. This isn't one of the better ones. But it's sure worth listening to, more than once. But do check out 9/16 and 11/19, and 5/19.

As I noted in another review, the Matrix is now an upscale bar called MatrixFillmore, owned by San Francisco's millionaire mayor, Gavin Newsom. It's the kind of place that wouldn't allow beatniks.

This setlist is filled with wonderful rare treats from the past. Enjoy

if you want to hear a good version of you don't love me, the allman brothers did the best cover. i highly recommend they're version. the dead was coming out of the mod phase in 66' and pigpen would use a vox organ. the deads sound changed when tc joined the mix in 68'. from 68' to early 70' the dead was cranking out good american rock. american beauty was the first time when the dead was incredibly solid. 70'-74 were there best years. once blues for allah came out, things gradually started to go down hill with the exception of terrapin station and shakedown street, and 76' at the cow palace.

how do i download this show?
E-mail. nmeals24@verizon.net
please get back to me

to see them in a small place when they were the new thing in town; the psychedelic blues like no other. crazy. a must listen.

As I remember reading the true story about Frank Dupree, he had the hots for this girl Betty. He robbed a jewelry store in Atlanta in 1912 and had to shot his way out killing a cop. He was finally cought up with in Detroit leaving a trail of distruction behind with more cops shot and killed. While on trial back in Georgia, his plea was, "I only wanted some of Betty's Jellyroll!" Hunter later wrote Dupree's Diamond Blues about the same story as this Betty and Dupree number here. Hunter said it was the only song he's ever written intoxicated.

I remember that this was featured on the Grateful Dead Hour along with an interview Bob Matthews and Sue Stephens. Pretty interesting!

Garcia's solo at the end of Cream Puff War is stellar. The MAMU's are also worth a listen. Almost a different song than later versions.

Great high energy rips - check out one of the first times they played me & my uncle

This would be OK if the Cream Puff War wasn't corrupted. Tried downloadin three times. Same results. Wound up using the MP-3 instead. The other copy is not an exact duplicate of this seed...

this is a great early show i highly recommend. the previous version i have is considerably noisier than this new cleaned up version. excellent work on the part of the "engineer"